Review – Stuckfish – ‘IV’ – by John Wenlock-Smith

I raved about Stuckfish’s last album ‘Days Of Innocence’ in my review in 2022 so I am very glad to report that this album continues in the same manner and vein. Although a few things have changed for the band, namely they are now part of the growing White Knight label run by Rob Reed and David Mackie. Also, they have a new keyboard player in Paul McNally who replaces Gary Holland (who left very amicably because of being unable to fully commit to the bands increased level of activity).

This new album has nine tracks, in all of varying lengths and all have a very different fell to them with differing moods. You do notice the quality oozing through the songs though as they are all very impressive sounding. The album begins with an acapella style opening on Shadows & Moonbeams, a song about Sarah Bernhardt, the French actress who had a very busy romantic life in that lots of men fell in love with her, thinking they were ‘The One’ who could win her heart completely. However, they never succeeded and she left a trail of broken hearts in her wake. It is a piece with a great chorus that will stay with you for ages and is one of the best opening tracks of the year with its chugging bass lines, sympathetic keyboards and a strong haunting guitar line from Ade Fisher. Silently Waiting is quite a fierce number with more solid keyboards and great acoustic guitar in the mix. This has a great vocal from Phil Stuckey who sounds a little Styx-like in his delivery, as he does on a few songs here. The song is about wanting to rebuild a relationship, here he is Silently Waiting for a positive outcome. The mid-section has an exciting and dramatic interplay between the musicians that impresses greatly and the whole band are on fine form here. The return of the acoustic guitar is a plus, as is the lyrical guitar solo that plays towards the tracks conclusion, another excellent track from the band.

Lifeline opens with strong chord work and, again, the Styx comparison holds true. Another strong vocal from Phil makes this a standout track for me, again the chorus is a distinct ear worm and will pop up unannounced in your thoughts during coming days. The song is about being free to be yourself and it is a fantastic song that calls out for a live performance, especially the great keyboards that close out the track. Liberty takes us to the poetry and musing of 13th century Persian poet and philosopher Rumi, who wrote about how love completes us. Again, the chorus is very memorable and strong and is repeated several times to great effect, Fragile is a short song, the shortest in Stuckfish’s canon of works and it benefits from a chugging bassline and atmospheric keyboards along with a very solid back beat from drummer Adam Sayers, whose meticulous timekeeping powers the track along. The song relates to how we are all fragile as individuals with our own life stories to live, experience and enjoy and how we can also make a new start when life fails us. A very short, concise and powerful track. The Time Of Your Life talks about how choices made early in life upon the expectations of other can be a burden that many are unprepared and unable to reach or cope with. The spoken word section is very memorable and works very well in the song, as does the excellent guitar solo from Adrian that crowns the song in style as he channels his inner Rothery in a very lyrical solo. This is another triumphant song, utterly magnificent!

JFKX rocks with style as more chugging bass and great keyboard textures and synths abound before a very meaty guitar riff is introduced by Adrian. The mid -ection has a keyboard solo from Phil McNally. Originally this song was written for Marc Storace of Krokus fame who rejected it, his loss being our gain. Fly (On Feathers Of Hope) begins with a very Yes like sound of keyboards and great guitar. The song is about love as a spiritual experience and expression so that it can be almost dreamlike. Which is an interesting construct as opposed to the traditional long slog of love that most folks experience. I guess it is all in how you approach it and also how much you value and appreciate your loved one. It is a journey that you take together and that is reflected in how you experience and express it for yourself. The album closes with the epic Skies Fall which is about near death experiences. This song is a slow burner with its strong use of bass, drums and keyboard interjections along with some harder metal edged guitar power chords. It slips into an almost eastern sounding mid section with more great guitar lines and that solid rhythm section holding everything together. There are great lyrics to this song too and, as the song builds in power, a great guitar break draws the song to its conclusion in style, including an effects pedal that changes pitch in a most dynamic way to fine effect.

So that’s it, a highly impressive sounding album full of memorable songs, strong choruses and excellent musicianship. If you get the chance to hear this album then you really must take it as it is certainly one of the years strongest releases and the band are more active touring wise these days too. So watch out for them as live this material will be fantastic!

Very Highly recommended indeed.

Released 13th October, 2024.

Order the album here:

https://stuckfish.bandcamp.com/album/stuckfish-iv-with-12-page-lyric-book

Watch the video for Shadows & Moonbeams here:

https://stuckfish.bandcamp.com/track/shadows-moonbeams

Review – Ruby Dawn – Blood on Water – by John Wenlock-Smith

Back in 2022 I wrote an extensive review of the debut album from Ruby Dawn as I was very much taken by it, hailing it to be one of my albums of the year and recommending it very highly. Well, it’s now two years later and a lot has happened since that first review. Ruby Dawn have a new album emerging onto the prog world stage in this month and it promises to be equal, if not superior, to that stunning debut album.

So let’s dig in, as they say, and see if that album was a fluke or whether this album can create something equally as captivating as the debut proved itself to be.

Initial impressions certainly bode well as the album has a very striking cover, very Hypgnosis in style and could easily be a Pink Floyd sleeve, such it is simple elegance and it is one that definitely catches the eyes. Comprising of eleven tracks ranging from the shorter Maker of Me to the lengthier epics Chronicles of a Celestial Soul and Juliet, both over seven minutes in duration. This is an album of feelings, of impressions and one that is firmly rooted in real life experiences. Experiences that have been faced and dealt with in the past few years by Carola Baer and her supportive crew of musicians, and also her own family members.

Whilst I know some of the background to this album, I don’t feel it is for me to lay wide open the headaches behind the music, except to say that Ruby Dawn have risen above the challenges to make an album of real strength, beauty, integrity and resilience, superbly deep recording. Opening with a steady drum beat before Carola’s suitably breathy vocals arrive, Juliet kicks off the album off in style. This track has a very meaty sound to it with solid and fluid guitar work from Dave Salsbury, whose playing is on fire here. This is an exciting and satisfying opener and proves how well the band gel. It also shows just how much the band have grown and have developed their own musical style in the two years since the debut album.

It also proves that the first album was no fluke and that this album will not suffer the Second album syndrome that has affected and derailed many a group over the years. Arms Of Love is a song about realising how together we are strong, being able to cope with whatever curve balls life may throw at us and also how it is better to be loved than left out in the cold, alone. With Alice Come Home we again have a very dense sounding track with great musical support, strong bass playing from Ian Turner and more fine guitar tones and soloing from Dave Salsbury, whose fretboard must have the grooves burnt into it from it from the ferocity of his playing across the whole album!

Title track Blood on Water is a slow, brooding song with an increasing level of intensity mixed in amongst its strong power chords. I really like this track, it’s honesty and integrity shine strongly here as Carola seeks to makes sense of her world as it now is, different. This has to both be realised as such and responded to in a totally new manner. Social Disaster follows with another excellent guitar part from Dave and strong supportive bass from Ian, along with the suitably robust drumming of Adam Perry, whose sterling backbeat holds everything tightly together in a most marvellous manner. Easy Feels is a highly atmospheric track and one that would appear to deal with the difficult area of loss of control and how that affects a family unit. This has a very Dave Gilmour style guitar break at it’s heart and it certainly impresses greatly.

This is an album that was borne out of painful, heartbreaking challenges and situations encountered and having to be dealt with. This theme of overcoming adversity is woven throughout all of the songs. Yet, despite its darkness there is also a ray of hope and light that still shines through. This alone gives the album much of it’s emotional depth and rawness, along with its honesty. For that boldness alone,  I applaud this deeply rewarding and emotionally haunting album.

The centrepiece of the album for me is the sprawling epic that is Chronicles of a Celestial Soul, which elaborates on the issue of suffering and the uncertainty that goes along with it. Again, we encounter Resilience and bravery as the situation is stared down and faced and confronted with courage and commitment.

The album is a triumphant statement of intent and a testimony to not giving in, instead choosing to face things head on with a confidence that may not actually be felt, yet somehow arises to battle the situation and fight until it ends. This album is actually life affirming and is a declaration of the power and value of love, teamwork and steadfastness in the midst of adversity and the promise of hope and also the recognition that better times lie ahead. Such is the beauty of hope that a new and different dawn will rise and life will continue.

Released November 1st, 2024.

Order from bandcamp here:

https://rubydawnband.bandcamp.com/album/blood-on-water

Review – Tiger Moth Tales – Inside The Cocoon – by John Wenlock-Smith

This Review is for a CD/dDVD set that delves deep into the highly successful and highly acclaimed ‘Cocoon’ album by Tiger Moth Tales (TMT) and comprises of a seventy-four minute audio document containing a mixture of conversations with Peter Jones, five live tracks from either the first TMT concerts and more recent ones from The Boerderij in Holland from earlier this year.

The accompanying DDV features a live solo performance by Peter Jones, mainly on guitar, again hailing from 2024, an interview along with the promotional video for the extra track on the ‘Cocoon’ 10 year anniversary edition, called Return To Chigwick in which Peter comments in song on the extraordinary journey he has been on since the release of the original album. This extraordinary, prolific, musician has released eight albums over the same ten year period along with appearances with Camel, It Bites and Cyan (among others). He has also performed session work for The Barock Project, four John Holden albums and also four Red Bazar albums and numerous shows. It’s been a very fruitful ten years for Peter and this CD tells you far more about the making of, and also the inspiration behind, the music.

In all honesty this is possibly an album you will listen to infrequently, although the DVD may receive more attention, featuring his interpretations of five Genesis songs, as the band were always a major influence on Peter’s intention to make a progressive music career for himself. The DVD is very illuminating, as Peter doesn’t tend to do many solo guitar shows so, to have one recorded for posterity is wonderful in itself, as are his Genesis covers, on which he does incredibly well in converting his admiration for the band.

This release definitely has its place in Peter’s recorded output and shows his versatility off to fine effect. As a Fan who has been on the whole journey with Peter, this is a most welcome release and highly enjoyable indeed. The live tracks on the CD include Overture from 2016, recorded at one of the earliest Tiger Moth Tales shows in Nottingham,  a version of The Merry Vicar and also A Visit To Chigwick, both from the same Nottingham show in 2016. There is also a live version of Feels Alright from a 2024 show in Holland.

It is a very interesting and informative release and you cannot help be amazed at both how productive, creative and determined Peter is who, despite being blind, does not allow his disabilities severely impact his ability to create some seriously impressive music. You will discover who the original ‘Vicar’ was and why Peter felt compelled to write about this man in particular. The interviews are informative and illuminating about both the detail and the vision behind the ‘Cocoon’ album. For me, it is the snippets of information that Peter reveals that help you appreciate that he does not allow his disabilities to affect his creativity and he shows incredible aptitude and resilience. It also makes abundantly clear the sheer creativity and attention to detail that Peter has applied to the project, as a companion album to the original release this is very welcome.

I really enjoyed this extra album and DVD but understand that it will not appeal to everyone, however, those that do partake will find much here to enjoy and appreciate, especially the demo and live tracks, which show the evolution of the album. It also gives much detail about how the album emerged and became a testament to both Peter’s talent and resilience, making it a story of successful endeavours and genuine imagination. ‘Cocoon’ remains a landmark album for Peter and this accompanying release really sheds light on what helped make the album such a refreshing and rewarding experience.

Personally, for me, I really enjoyed this and my admiration for Peter has increased even more as a result. It’s an interesting listen and the music tracks add even more to this fabulous little package, which I suggest will become increasingly more valuable as times goes by. So, if this is up your street then I strongly suggest that you search it out whilst you can as it may not be around for that long.

A real hats off to Peter for delving into his own archives to compile this fascinating release about his stunning debut album ‘Cocoon’ as he celebrates its 10th anniversary.

Released 6th September, 2024.

Order the album here:

https://www.whiteknightshop2.co.uk/home/Tiger-Moth-Tales-Inside-The-Cocoon-CD-DVD-p687857062

Review – Jon Anderson & The Band Geeks – True – by John Wenlock-Smith

2024 has been a most interesting and agreeable year musically with some real top draw releases. This has been further accentuated by this spectacular release which arrived somewhat from left field. ‘True’ sees the triumphant return of icon and legendary original Yes singer Jon Anderson who, at 79 years of age, is proving there is definitely still life in this old dog yet!

After the years of exclusion from the group that he was one of the original founders of and, in the wake of vocal issues that led to his ultimate departure and subsequent meandering around the outskirts of music, it must offer a real sense of immense pride and satisfaction that this new album from Jon Anderson & The Band Geeks has received such a positive reception, with many hailing it as the album that Yes should be making. Whilst Yes are maintaining their own particular version of the music, albeit to seemingly diminishing returns and in a way that possibly dilutes their legacy, on this album Jon And The Band Geeks craft something that captures much of the original magic that Yes enjoyed with Anderson and offer some real quality material and sound textures that evoke the spirit of prime Yes music in both a modern and yet nostalgic manner. All this whilst managing to avoid sounding like a tribute act.

Apart from the questionable cover image, this album ticks all the boxes, certainly for me at least. However, that aside, this album is actually a complete shock in just how consistent it is, with a slew of excellent songs and sterling performances throughout. With more than echoes of the glory days of the classic Yes era and while embracing the Trevor Rabin, ‘True’ also capitalises on the promise that Anderson, Rabin, Wakeman and Howe had offered. That is all history now as this album really delivers what most people expect of a Jon Anderson project. In short, this is a most excellent new album, I approached it with few expectations and found myself completely convinced by it’s tunes and musicianship. I can see what all the fuss is about, this album runs just shy of an hour in duration and within its grooves we find a distillation of all that is Jon Anderson.

Jon is in extremely fine voice and The Band Geeks are certainly more than proficient enough to pull this off in style. The excellent guitar work of Andy Graziano, who plays classical guitar lines like Steve Howe most convincingly, is really on point. Chris Clark provides the keyboards while Ritchie Castellano covers bass, Robert Kipp provides secondary guitar parts and Andy Ascolese covers the drums. The Band Geeks actually came together to cover Yes songs which they posted to YouTube and, in the process of doing so, they attracted the attention of Jon who reached out to them. Eventually they agreed to work together on this album and various tour dates.

The album has nine tracks with seven shorter pieces and two lengthier epics, namely Counties And Countries and the truly epic song Once Upon A Dream. These longer tracks are certainly complex in content but are also extremely well executed, the former piece is a distinct nod to the former glories of Yes but not being carbon copies in any way. These songs have life, vigour and vim in spades and we see a completely re-energised Anderson thoroughly enjoying himself and offering some superb music as a result. It’s so good to hear this reinvention again and this album deserves all the plaudits it gets as it is a truly excellent and convincing release.

Once Upon A Dream also really captivates with a vocal opening that evokes the opening bars of ‘Tales from Topographic Oceans’ in its chant. After this the music really begins properly with some strong guitar lines and choppy rhythms and some great guitar runs and a bass that Chris Squire himself would definitely approve of. This song really shines and sparkles showing just how great a band this unit truly is and, it’s a revelation really.

This absolutely wonderful release shoots itself in the top ten of 2024 and I’m sure it will feature prominently in many end of year lists. Intentional or not, Jon Anderson & The Band Geeks have produced the best Yes album of the last twenty years…

Released 23rd August, 2024.

Order the album here:

https://ffm.to/jonandersontrue

Review – Nick Fletcher – A Longing For Home – by John Wenlock-Smith

In 1975, which was a momentous year for music, The late John Miles wrote, “Music was my first love and it will be my last, music of the future and music of the past”. Later on John lamented that in this world of troubles my music pulls me through. These are sentiments that I guess many heartily agree with, I certainly do, and I would imagine that Nick Fletcher would too, especially based on conversations that I’ve had with him. Whilst he might not live for music, being the family man that he is, there is little doubt that music through creating, producing and performing, plays a major part in his own life.

Of course, if we’re were talking about him in the 1970’s, Nick would be heralded as a major guitar hero and would invariably be highly rated amongst his peers. Sadly those days for guitarists are possibly over now.  The irony is that, in Nick, you have a consummate talent who really deserves a bigger platform and reach that an independent release fails to offer him. Certainly, talent like Nick’s is rare and should be valued and recognised far more.

His new album, ‘A Longing For Home’, is a prime case of this. His last album, ‘Quadrivium’, was spectacular enough but this one takes the bar and lifts it up even higher, making this an album that will be the envy of many guitarists around the world. With its staggering displays of virtuosity, speed runs and flights of finger work, Nick most definitely makes that fretboard scorch and burn, as he does here amongst this albums ten tracks.

The album is the last part of a trilogy of albums made up of ‘The Cloud Of Unknowing’, ‘Quadrivium’ and now ‘A Longing For Home’, which concludes the trilogy through the genre of  progressive jazz/rock fusion. On this release Nick explores the connections between science, religion and spirituality and how that relates to each of us as individuals.

The album begins with the excellent Satori which has a busy rhythm section plowing a mighty furrow and giving Nick a platform on which to solo furiously, an opportunity he makes the most of! The backing is spot on and you can sense that this is a field in which Nick excels and feels very comfortable indeed. The subtle keyboard work of Caroline Bonnett underpins everything with grace and aplomb and the groove reminds me of Spyrogyra at times, except Nick’s take on fusion is more fiery and less jazz-lite than Spyrogya’s ever was. The Secret Of The Ascent introduces Norwegian Jan Gunnar Hoff to proceedings and he is phenomenal here, helping create a background wash of keyboards that helps move the track along briskly and yet retaining its musical charm and integrity. Joy Turning Into Sorrow is a delicate classical guitar piece (Nick also has a fine pedigree in this realm having written and performed many solo classical guitar performances over the past 25 years or so). The Final keyboard notes of this piece lead us into the wonderfully evocative track Sitting In The Sunboat, which is a longer track in which Nick solos extensively and with style. Whilst his soloing is fiery, it is never at the expense of either melody of emotion, being both stylish and  warm. The piano solo in the middle of the song also impresses greatly,

Even more impressive (if that’s possible) is the simply gorgeous Her Eyes Of Azure Blue, which Nick says called for a different approach from him. It has a very lyrical style and a features a fretless bass solo from Jonathon Ihlenfeld Cuniado which fits extremely well with the overall sound that the track conveys. Nick is most definitely a team player here, graciously sharing the platform with his fellow musicians and this helps and actually enhances the music that he makes. This shows that music is a collaborative effort and has a very symbiotic quality in which every one’s effort are rewarding to the listener. This track and its predecessor are the highlights of the album for me as together they convey the skill and vision employed here by all the participants. Whilst Nick’s name adorns the cover, it would not have the same depth of emotion without the help of Anika Nilles, Jonathan, Caroline and Jan’s presence and significant musical input. Anika’s drumming shows why Jeff Beck wanted her in his last band, her performances here are thundering, powerful but ultimately tasteful.

The next piece, A Pathway To The Hermitage, has a light, almost joyful, tone and title track A Longing For Home follows with a suitably cosmic and atmospheric sound which evokes the vastness of space, just how small and alone we are as a planet and how we are almost insignificant in the greater cosmos and universe. Nick’s guitar is laden with reverb and echo to help convey this vastness. With shades of David Gilmour on display here, this track is another winner! As is The Sage, The Monk and The Scholar, which is, to be truthful, a storming rocker of a track with a powerful riff and afiery guitar throughout. An epic guitar solo and a superb organ section help maintain the intensity of the track, one which rocks ferociously and is, unsurprisingly, another winner.

The penultimate piece is Crossing The Sacred Threshold which sees the return of the melody from The Secret Of The Ascent. This is a lovely touch and brings a sense of unity to proceedings in that we are reaching towards a conclusion of sorts. The album closes with the only vocalised track on the album, To Hear The Angels Sing. It has beautiful wordless vocalisations from Olga Karpova (Dikajee) whose presence brings a classy end to proceedings. Olga is a classically trained Opera singer and it shows here as she vocalises over a shimmering wash of sounds and textures from Nick’s elegant guitar. There are no keyboards or other instruments on show here and this is a peaceful final conclusion to the album and is very ethereal sounding indeed.

This album is without a doubt one of the first instrumental albums of the year with hints of some of the jazz fusion greats, Al Di Moela, Alan Holdsworth, Pat Metheny, John Mclaughlin and many others. Please don’t let this wonderful and terrific album slip by you otherwise you will definitely regret it!

Released 21st October, 2024.

Order direct from Nick’s website here:

https://www.nickfletcherguitarmusic.com/product-page/nick-fletcher-a-longing-for-home-cd

Interview With Nick Fletcher – John Wenlock-Smith

John Wenlock-Smith: This latest album. ‘A Longing For Home’, completes a trilogy of albums, explain the themes behind these for me again please, if you will.

Nick Fletcher: The three albums are kind of all linked together thematically, all to do with the connection I can see between Science,Religion & Spirituality. I just think all these things, rather than being in opposition to each other, are in fact closely interwoven and the albums explore that connection and how they relate to that in our own lives and experiences. The albums explore that theme and how that relates to us each as an individual.

JWS: this album is fully instrumental, apart from the last track, why is that?

NF: I came to a point whilst making the last album where I realised that my strengths do not lie in songwriting, they lie in composing music. I’m not good at writing lyrics to express what I am feeling. The songwriting format is not one I’m comfortable with and the melodies I write are quite difficult for a singer to get to grips with and for them to do the songs justice.

On this latest recording, the last track has what appears to be a simple melody but it isn’t really, it has a big range and called for a specific type of singer, so it needed a specific voice who could bring the melody alive.

So, to that end, I sought assistance from a good friend of mine; Dikajee (her real name is Olga Karpova) who, as well a being a great prog singer, also is a trained opera singer. I think it felt that she was able to bring to life fully what I had envisaged.

JWS: Tell me about you writing process please Nick?

NF: It’s interesting that you say that! I guess that, compared to how many folks write these days, my way of writing could be deemed ‘Old School’, in that I hear the music in my head, develop it on my guitar (unplugged) and then I score it out. However, I don’t make any demo’s at all. So, when it  comes to making the album, it means it can be difficult to convey what I hear to the musicians who I am working with.

Often Caroline Bonnet (my co- producer) looks at me oddly when i’m trying to explain things to her. It calls for an element of trust as she is used to hearing a demo version and working upwards from that. Whereas I hear it all in my head, so she has to trust my vision really. It’s one that requires zero technology, I never plug the guitar in a, if it works unplugged, I know it will work when it’s recorded. I try to avoid searching for the sound, I see sounds as colours and I don’t want that interrupted or overshadowed by sound.

I’m also a classical musician and that approach is tied in with that as well.

JWS: The artwork for the album is also very interesting!

NF: Yes, if you look at the cover and the inside CD tray, you will find there is a message hidden within and that connects the whole album together. It’s possibly a little cryptic but it is there if you look for it.

JWS: I’ve heard the album but the download I received wasn’t in the correct sequence so, whilst listening the other day, I had to keep flipping back to the track listing and then play the next track which meant the album didn’t flow continuously and in sequence meaning it was hard to fully grasp. When I get the album for myself then I can listen fully and without interruption and thus get the full picture clearly.

JWS: Do you hope to be able to play the album live at all?

NF: I would love to, it’s a dream that I’d love to be able to bring to reality. However, it’s not easily achievable due to finance and also logistical issues,plus most of the band on this album are based in Europe, which further complicates matters. So do schedules and timing, if it becomes feasible or possible then I’ll try to make the dream come true for certain.

One of the reasons for using a different band for this album was to reinforce the concept of music as being universal and a force to bring us closer together. There is more that unites us as opposed to separates us and I see music as a critical part of that path. It’s an important statement really.

JWS: So what’s happening with regard to the John Hackett Band?

NF: Well, next year marks the 50th anniversary of Steve Hackett’s ‘Voyage Of The Acolyte’, an album which John played a major part in both the writing and the recording of. So, next year, we are doing a number of songs from that album along with new songs from the forthcoming John Hackett Band album, which is nearly completed and will be entitled ‘Red Institution’. Although no release date has been set as yet but hopefully it’s not to far off now.

I’m also going to continue with some classical guitar shows again, along with continuing to write music for another album which will be a standalone album. However it will be another one with a conceptual narrative as I like having a concept to work with.

JWS: Do you have a favourite track from the three albums ?

NF: That’s a question I’ve never been asked before! Obviously I like them all but, possibly, the track Her Eyes Of Azure Blue from the new album ‘A Longing For Home’, as it calls for me to play in a different style, whereas normally I’m flying around the fretboard, doing pyrotechnics. Here it’s needs me to play in a more structured manner, which is different for me, I guess how I feel will change from day to day but today it’s that one.

I hope that helps!

JWS: Yes it certainly does. Well, Nick, that’s my questions, thank you for your time and the informative answers, I really appreciate it. I look forward to seeing you in November in Reading.

‘A Longing For Home’ is out now, order direct from Nick here:

https://www.nickfletcherguitarmusic.com/product-page/nick-fletcher-a-longing-for-home-cd

Review – Frant1c – A Brand New World – by John Wenlock-Smith

This new album is a little unusual, it’s history is a complex one but it is ultimately something of a triumph. Coming, as it does, following a set of significant lifestyle changes for one of its key architects, Anne-Claire Rallo. In the wake of her partner Eric Bouillette’s sad death from Pancreatic Cancer in 2022, Anne-Claire has forged a new life in musical PR with Bad Dog Promotions, who are going from strength to strength.

Eric actually contributed to this release and it is his final appearance on any album and here he offers guitar, keyboards piano and also aided in the arrangements. The album also includes contributions from Alexandre Lamia (Nine Skies), Martin Wilson (The Room), Johnny Marter (nine skies) and Helen Tiron (Sun Q). This album also benefits from the mixing and mastering skills of John Mitchell.

The album is most definitely a labour of love for Anne-Claire and is possibly cathartic for the tough time she has been through in the aftermath of Eric’s death. The record is concerned with the tale of Charlie and Hope, who have spent their lives together until a day when Charlie wakes up alone in a world that has changed completely. Charlie goes in search of Hope and this journey takes him to new discoveries and encounters whilst he searches for his love.

The album is truly symphonic in nature and I have to say it sounds really great too. It begins with Prologue (The Awakening), a brief spoken introduction and shimmering sound effects before a piano is heard playing a somewhat plaintive melody which is joined with a moving violin part. As an opener it sets the scene wonderfully for what is to follow. Come Back To Earth features the excellent, clear and strong vocals of Martin Wilson, who is on excellent form here. His voice is powerful and emotionally charged, he sounds like a Marillion era Fish on this track. People In Their Cages features clips of old radio shows and talks of our reliance on the media to both inform and also to entertain us, as we are unable to think for ourselves, referring to us to being a zombie nation. Where Have You Been? is a wistful song of loss and longing. It has some great guitar lines that works really well and the vocals are again excellent.

The album’s longest track, The Ballad Of Peggy Pratt, is a song about a lost person, this time a woman, who lives in her past looking back to her better days. The track opens with a piano setting a downbeat tone before it builds with very evocative vocals from Martin that really sets the scene of faded glory and to present disillusionment. The song has several sections to it, including a stellar instrumental section with lots of riffing guitar tracks. This fades to moody piano motifs before an epic guitar solo really adds elegance to the proceedings. Sweet Confusion is a duet between the characters of Charlie (Martin) and Hope (Helen) in which they speak of the confusion that sounds and separates them emotionally. It also shows the longing for reconciliation and healing between them emerging. On The Run opens with keyboards and synth effects and concerns a world of crazy people running around. The song has a good melody and features Martin’s The Room colleague Steve Anderson on guitar who adds real flamboyance and flair to this excellent track. It is one of the album’s finest to these ears and shows great performances from all parties involved. Take A Little Time (The Encounter) addresses the gulf between the friends and their desire to draw closer once again, in spite of the obstacles that lie in their paths. A New Path is the album’s penultimate track and offers a glimpse of a way forward and back to normalcy. This has a heavier tone that works well for it, the song also has more atmospheric sounds and great guitar flourishes adorn the track. Epilogue (A Brand New World) concludes the album with delicate piano lines and a spoken vocal from Anne-Claire adds to the excitement of the track, there isn’t a vocal per-se as the spoken world tells the tale. There is also the return of the spoken voice part from the opening track, again this works well in telling us to Wake Up several times before the album ends.

‘A Brand New World’ is an interesting tale but you will need to listen carefully to really understand it. What is without question is that this is a most ambitious album and one that really works on the whole. It is definitely worth listening to and deciding for yourself, musically it is excellent as are the vocalists who really shine on these wonderful songs.

Released 27th September, 2024.

Order from bandcamp here:

https://frant1c.bandcamp.com/album/a-brand-new-world

Review Oddleaf – Where Ideal and Denial Collide – by David Edwards

If you enjoy classic-era symphonic prog rock, but with a modern touch, then the wonderful debut release from the French progressive rock project Oddleaf is highly recommended. Where Ideal and Denial Collide is a compelling album full of epic, richly layered, sumptuous and dream-like compositions that mix the timeless prog of Yes, Camel, Genesis, Renaissance and King Crimson, with more contemporary influences such as Wobbler, Agusa, White Willow, Mostly Autumn, Monarch Trail and Big Big Train.

The use of vintage keyboards, such as the Mellotron and Hammond organ, defines the lush and luminous musical soundscapes, but the inclusion of electronic and acoustic flute, four-part vocal harmonies and expressive female vocals in English, add a pastoral beauty and depth that draws you into the music effortlessly.

The band started in 2020, with Carina Taurer (keyboards) and Matthieu Rossi (flutes) moving on from their early/medieval classical music and developing more progressive rock-orientated compositions. Joined in 2021 by Olivier Orlando (guitar and bass) and Clément Curaudeau (drums), the final piece of the jigsaw was completed with Adeline Gurtner, replacing the original vocalist Olivier Marcaud in 2023 – accentuating the more feminine aspect of the band’s music. Where Ideal and Denial Collide represents the culmination of four years of hard work and is a truly wonderful symphonic prog rock album.

There is a cohesiveness to the album, with each track musically and lyrically connected by ecological and humanistic themes – celebrating the majesty of nature, whilst questioning humanities place within it. Even the impressive CD artwork is a link to several songs on the album.

The Eternal Tree is the short opening instrumental, full of atmosphere and darkly dreamy instrumentation. Carina’s repeating piano pattern is steadily built upon by deep keyboard chords and then some swirling synths over an insistent beat, with flute notes and a subtle folk-like character developing. It is a well-pitched, cinematic introduction into the music to come, and flows into the first of several extended epics on the album.

Life begins with ethereal vocal harmonies mingling with some lovely keyboards, while Olivier’s deep bass and Clément’s drums push the music through to Adeline’s lovely and warm lead vocals, which float smoothly above the dense instrumentation. The intelligent, poetic lyrics conjure up the birth of planet Earth and its development over 4 billion years, along with Mother Nature’s endless cycles of growth and renewal, despite the efforts of mankind to disrupt it.

“Precious life, endless birth,

This is our Mother Earth,

Water, air, desert, snow,

Let’s fight for her, because…”

Musically, it ebbs and flows, with dreamy and delicate passages transitioning into complex, intricate and chaotic sections with retro stabs of Hammond organ, as the bass and drums power through. The sound of water and birdsong are joined by Mathieu’s pastoral flute, with piano and vocals then taking the track to a satisfying and thoughtful conclusion, as the winds of time blow.

Ethereal Melodies is a lovely folk-drenched slab of melodic prog, with some initial acoustic guitar and infectious, madrigal-like flute providing a soothing rustic feel to it all, which reminds me at times of the Swedish band, Agusa. Adeline’s singing almost has a feel of Magenta’s Christina Booth at times and the backing vocals, keyboard wash and piano support her so well.

The evocative lyrics, written by Mathieu, seemingly transport us deep into ancient woods and the journey from a seed deep in the ground to the splendour of a fully grown tree. However, the tree is an allegory for the world – representing humanity. Carina tells me that the leaves, twigs and branches represent individuals or groups of individuals in society, and the golden or ‘odd’ leaves (hence the band name) represent those who try to open the eyes of others to the hope of change, unity, coexistence, respect for nature and the desire for renewal in our society.

“Ethereal Melodies,

From millions of my leaves,

Are spreading hope and peace.

The only way for me,

Guardian of the prophecy,

For I’m the eternal tree.”

It is a revolutionary, but peaceful message, delivered within a wonderfully accessible slice of symphonic prog, and a good choice for the album’s promotional single. The uplifting guitar solo from Oliver towards the end provides a lovely focus to the music before the synths take us through to a contemplative and serene conclusion. A slightly shorter, clip edit of the track is also available on the album download.

The longest epic on the album is the melancholic and multi-faceted Back In Time. Composed back in 2021 during the pandemic lockdown period, the lyrics follow a woman looking back nostalgically at the past, childhood, family and the simplicity of life, in sharp contrast to the fear and isolation of her present life. The music accompanies the story well – starting with emotive and atmospheric keyboards and vocal harmonies over poignant flute lines, before slightly disturbing piano notes and a rhythmic build-up set up Adeline’s longing vocals begin.

“Bring me back in time

Take me through the tunnel of life.

Bring me back all this colours of a long gone past.

Bring me back to a simple life,

Please take me back in time.”

There is a breezy, jazz-like interlude with flute and Hammond organ sounding a touch like Focus to these ears, before a return to the reflective main theme. The spoken, questioning words of Dan Curtis, enhance the unsettling feeling building up, with the instrumentation switching from intricate and complex, to a slower, more plaintive ambience. Sadly, the woman’s journey into the past has seen her slowly sink into madness, and the yearning sadness of the closing vocals is in sharp contrast with the frenzied mix of off-kilter flute, edgy keyboards and manic laughter, signalling her mind’s fall into the abyss.

Prelude is a short, synthesized introduction to the closing track of the album, the instrumental Coexistence – Part 1. This is a track that will delight any fan of classic keyboard-led symphonic prog rock. Carina’s superb keyboard skills really dazzle and shine, as do Olivier’s bursts of resonating electric guitar. The musical template twists and turns, with Clément’s busy drums keeping everything pushing forward. More Hammond organ to savour before a change in tempo, and Mellotron, soaring flute and acoustic guitar provide a period of relative calm. However, the music then takes on a dark, heavy intensity with echoes of both King Crimson and Yes – majestically climbing higher to a wonderfully proggy crescendo (I’d liken it to Red/One More Red Nightmare meets The Gates of Delirium/Starship Trooper) before it finishes in a dark, echoey and surreal soundscape. Like so much on the album, there is just so much going on – it is impossible to describe adequately in just a few lines. I can’t wait for Part 2!

I am genuinely excited and pleasantly surprised by this new French progressive rock band. Oddleaf are not necessarily breaking new ground with their debut album, Where Idea and Denial Collide. However, their unique take on symphonic prog rock – mixing retro with modern, adding pastoral elements and delivering intelligent, articulate and thoughtful lyrics and themes, has produced music that is an absolute joy to listen to. The surprise package of the year for me, for sure – this is not an album for prog rock fans to miss out on. Highly recommended!

Released October 11th, 2024 (CD, Digital)

Order from bandcamp here:

https://oddleaf.bandcamp.com/album/where-ideal-and-denial-collide

Review – Sloane Square Band – Thoughts – by John Wenlock-Smith

Recent times for me have seen a renaissance of worthwhile progressive music emerging from France and especially from the excellent promotional work of Bad Dog Promotions. We’ve already reviewed Pryzme and The Raging Project, now we have this Prog/AOR crossover from SSB – Sloane Square Band.

Sloane Square Band hail from France and is the brain child of French prog musician Claude Segalin, who was a noted prog musician in the 1970’s. He started making music again in 2017 when he met a bassist who had played in the band Guelf with him in the 1970’s. This meeting inspired Claude to have another go and to write and create some new music again and ‘Thoughts’ is his second release under the SSB banner. 

The album is only about 43 minutes in length with just nine tracks of mainly gentler music with a definite Pink Floyd type sound, especially in the guitar solo. This means the average track length is between four to five minutes and nothing here overstays it’s welcome, making the album is a really good listen, not totally earth moving or essential but it has much to commend it.

Within its tracks, apart from the Floyd influences, I detect distinct echoes of United Progressive Fraternity and Unitopia especially with ecological and environmental concerns (very much a staple part of UPF’s DNA). In addition, the vocals aren’t a million miles away from Mark Trueck’s vocal style either.

As I say, most of the album consists of slower paced tracks more reliant on atmosphere rather than bombast, although the track Fishes is different in that it is far more traditional sound wise with a driving beat and powerful guitars. This one really kicks ass and I really like it, there’s excellent Bass from Alix Guglielmi here too. My Fathers is a sensitive and extremely sincere expression of both respect and thanks to Claude’s father, which touches the soul with its warmth and sincerity.

Hiroshima is another strong track and possibly my favourite of the those on offer. It features current Pink Floyd bassist Guy Pratt and the vocalisations of Joniece Johnson. The track begins with gentle acoustic guitar which contrasts strongly with the darkness of the lyrics. This has delicate flute from and strings amidst everything that is going on. The piece also has great guitar work and some sensitive synth lines and the soaring vocals give the track a definite Pink Floyd vibe and sound. Quite a remarkable track all told and probably the album standout along with Fishes. I Will Never has a strong chorus and melody throughout, the guitar pattern is especially familiar to these ears. There is a great vocal performance from Canadian vocalist Richard Groulx, indeed his vocals on the whole album are very fine indeed. The mixtures of styles and approaches from soft prog to AOR works very well.

Overall this album has a lot to commend it. It may be short and perhaps lack a good lengthier piece but what is here is most certainly of good quality and, whilst it may not be utterly essential, I feel that those who listen will find very much to enjoy within its grooves.

Mention must also be made of the excellent sound garnered by Steve Forward (Sound Engineer) who has made an album of crisp sounding tracks with excellent separation and space between the instruments, it really is a joy to listen to.The digital cover is very Marillion in style and is a good fit for the music it conveys.

Released 21st June, 2024.

Order from bandcamp here:

https://ftf-music.bandcamp.com/album/sloane-square-band-thoughts

Review – Frost* – Life In The Wires – by Kevin Thompson

After a busy weekend I now find myself sat at home full of cold and in need of cheering up.

Ooh! What’s this in my inbox?

Ooh! It’s the latest Frost* album for review.

Ooh! It’s a double album.

Ooh! It’s a concept album.

Can this be what I need to perk myself up. Let’s cough and sniffle through the upcoming album to see what we can find.

Ivor Novello award-winning composer and musician Jem Godfrey is best known for co-writing and producing a number of commercially successful songs for some well known musicians.  His own band Frost* are about to release their new album Life In The Wires which is a direct follow up to their last album, Day And Age, this has set up the premise for the new one. Fleshing out the imaginary world who’s character imagined on the previous album was searching to be heard, we are introduced to Naio, who Jem Godfrey describes as an aimless kid heading for a meaningless future in an AI run world. He hears an old DJ talking on the ancient AM radio his mother once gave him and decides to trace the source of the signal and find “Livewire” to see if there’s a better future out there. However, the All Seeing Eye is less than impressed at this bid for independent thought and fights back. Soon Naio finds himself pursued across the country by an outraged mob as he tries to locate the home of Livewire and his freedom.

‘Life in the Wires’ features the welcome return of drummer Craig Blundell (‘Blunders’ to the band), to join the continued guitar and vocal services of stalwart John Mitchell (also known as ‘Connaught’), the wonderful Nathan King on bass, and Mr Jem Godfrey himself doing just about everything else including lead vocals. Now I have a problem with John as I love his material and own all his output, but such is his distinctive voice and guitar work, that at times other people’s albums on which he features can sound like John Mitchell and Friends. But on this concept album the consistency of Jem Godfrey’s lead vocals, adds that distinguishing edge without John having to compromise.

Three tracks are already available to listen to on YouTube, (Life in the Wires, Part 1, Moral And Consequence and Idiot Box) which all seem to have been greeted with great enthusiasm. So, fortified with cold remedies, let’s without further ado, climb into the comfort of the album and delve into the individual tracks.

The first and shortest track on the new album, ‘Skywaving’, starts with the end of the last track from the previous album “Repeat to Fade,” where the static comes up and a voice says “Can you hear me?” Looping keys swirl as Naio decides he will follow his dream and the voice he has heard in the hope of finding a destiny of promise.

Notes blast morse code like from the speakers as if there is ‘Life in the Wires, Part 1′. The voice of ‘Livewire’ on the radio urging anyone listening, to step out of the dystopia they are living in and seek him out for a new life, as keys and guitars fizz across the airwaves, plundered by drums and bass. The signal drifts out on melancholy piano keys, is there something out there?

(A pause to blow my nose and grab another hot drink, must keep up the liquids and we’re back to it).

The piano drifts into the next song lyrics lamenting sorrowfully on a once warm family home devastatingly affected by circumstances and grieving guitar solo, turning it into ‘This House Of Winter’.  Warm breezes of instrumentation waft across the grooves easing the chill and drift into the following number….

‘The Solid State Orchestra’, as Naio prepares to defy the All Seeing Eye and set off on his dangerous search of paradise, will it be worth it? Will he find what he is looking for? He steps outside to the noises of the street.

Leaving no note he intends to escape the city and disappear like a mist created by an ‘Evaporator’,the music flows with urgency and there’s an increase in excitement and trepidation with bursts of guitar, as the rhythm section of bass and drums drive him forward with Jem’s keys holding it all together.

(For me this is probably the catchiest track on the album and I find myself wandering round singing the chorus, between sneezes).

Livewirebroadcasts on the hour every hour whilst Naio tries to find his way through this ‘Strange World’ on a more ambient track that blossoms and throbs to life with delicate keyboard passages from Jem’s nimble fingers.

The reverie is broken as guitar crashes in buzzing like an angry wasp and the keys jab with accusing pointed fingers. We don’t care what you want, do as you are expected and watch the Idiot Box. Turn against anyone who does not conform, they are the enemy, like a cold virus, like Naio. A message of encouragement from Livewire as another hour passes, keeps him going.

Confident in the affirmation of his decision to continue his quest, Naio thinks fondly of ‘Absent Friends’ he has had to leave behind on this gentle keys and orchestrated sound, no connections to link them to him as it is too dangerous.  They’re gone but not forgotten.

Obedience. All should follow, to learn subservience at the ‘School (Introducing The All Seeing Eye)’ (ASE) and be taught not to stray, as this foreboding instrumental patrols the grooves ensuring all toe the line. No revolution will be tolerated as the music storms forward.

The campaign and aggressive music search to discredit Naio and ‘Properganda’ is spread for all to hear, that he is not well and is against the ASE. The marching wall of instrumentation tries to rout him out and leave him no place to hide. Another message from Livewire with well wishes, but saying farewell.

(Another break for a hot drink and menthol lozenge to clear my head a little and focus on this welcome distraction).

The last message has left Naio doubting and questioning himself on this subdued track. He had hoped to find a ‘Sign Of Life’, but nothing other than repeat messages. Has this all been a futile dream, has it all been for nothing. This siren seems to have led him astray trying to crush his dreams on the rocks of oppression?

He thinks of the ‘Moral and Consequence’ he may face for his actions as fraught guitar goes round and round in his head. He had to try, there must be more to life, outside the reach of the ASE.  He is ready to face whatever happens he’s no longer afraid.

Is there ‘Life In The Wires (Part 2)‘ on this penultimate track of epic, composed music? There most certainly is with deliberate nods to the most excellent Milliontown from 2006, paying homage as it nears it’s 20th anniversary, most noticeably on this, the longest track that builds with a cornucopia of solo’s and rhythmic passages, meshed beautifully together. It ripples with ribbons of joy and flourishes like fields of swaying wheat blessed in sun-kissed fields, golden and bright.

There must be more to life, everyone needs to stand up and make waves, ‘Starting Fires’ of change and believe. The revolution will build, take shape and change the world and musical thinking as the album draws to a close, waving the banner for a better future.

Jem said he wanted to return to solos after the restraint and focus on astute arrangements for Day And Age, which has I feel added impetus to Life In The Wires, making it sound fresh and alive, with the band gelling as one in perfect harmony and synchronisation. It may not have cured my cold, but it is powerful enough to lift my spirits and give me the warm glow I always feel inside when an album hits the spot.

Milliontown is one of the most successful prog rock albums of the last 20 years and rightly held in high regard, lauded by fans and critics alike. Life In The Wires may not surpass it but damn! it runs it close. One of the best concept albums I’ve heard for sometime and one of the best albums of the year so far.

Frost* have certainly still got plenty of life in their wires, can you here me?

‘Life In The Wires’ will be available as a Limited 2CD, Gatefold 180g 2LP and as Digital Album, with subtle difference across the 3 formats for added interest. The album features artwork design by Carl Glover, who also designed the cover of ‘Day And Age’.

Released on October 18th, 2024 on InsideOut Music.

Order the album here:

https://frost-band.lnk.to/LifeInTheWires